Lines
by dinabar
Summary: Light hearted summary of Season 15 as seen by Harry, Nikki and Leo, beginning at the final scene of FEAR. Script format...you have been warned.
1. Right Lines

**Happy half term everyone, happy end of exams to all concerned and happy Diamond Jubilee. Hopefully something to cheer you all up; or at least give you a laugh.**

**So I wasn't a great fan of season 15, haven't seen ATTFIL and this began as a collection of all the things I was disappointed by. How and why I decided to do it in script format is still a mystery to me. It was far harder than I thought it would be. It is meant to be tongue in cheek, if it helps imagine seeing it on sketch show done by Alistair McGowan or some group of impressionists.**

**Inspiration from BBC Writersroom Script Archive if you've not been there, there's a couple of SW scripts on there and you'll realise I've not lost it entirely. Also read some golden oldies recently so if you're new round here try Fault Lines: Greyslostwho, Always Watching: Copycat, Falling Apart: Slayergirl and anything by Charlotte88.**

**All Silent Witness characters belong to the BBC no infringement intended.**

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LINES by dinabar

**1. STRAIGHT LINES: A Missing script from the end of FEAR Season 15**

SCENE 1: INT. - LEO'S OFFICE - 1:15 p.m.

LEO sits alone at his computer, gazing into the distance. We are aware of his new impressionist painting on the wall. Outside his office door HARRY CUNNINGHAM hands NIKKI ALEXANDER her coat and helps her into it.

Leo smiles.

LEO (V.O.)

I'm a pathologist, I determine

cause of death,

there's always a cause; a reason.

I've needed

that reason,

it's been important to me.

It compensates me for what

I don't understand about life.

HARRY places NIKKI'S scarf around her neck and tenderly arranges it. HARRY looks towards LEO and smiles, as he does so he gently slaps NIKKI'S cheek and runs out of the office.

NIKKI (Squeals)

HARRY!

NIKKI chases HARRY. We see their outlines through the blinds at the windows of the far side of the office, NIKKI is gaining on him.

CUT TO

Leo's face, he smiles ruefully and gives a slight shake of the head.

LEO (V.O.)

But the longer I live,

the longer I look and the less

sense it makes to me. For every

action there is an equal reaction

yet the laws that govern the universe

seldom have anything to do with

what we know of human experience.

We are chaos. Unruleable.

So we turn to God or something else.

We will all die and there will

always be a reason, that's scientific fact.

But it's not the truth.

CUT TO

NIKKI chasing Harry along the corridor, her coat and scarf flapping wildly as she runs.

CUT TO

HARRY standing still, his back against a wall, obviously hiding and waiting for NIKKI to run past him. CLOSE IN ON FACE. He is breathless, but it is not clear whether this is due to the running or the laughter he is repressing.

CUT TO

NIKKI, her speed slows as she realises she cannot see HARRY anymore, and the evident corner.

CUT TO

HARRY, camera pans back to show he is next to the reflecting pool. He is still waiting for NIKKI to run past. He puts his head around the edge of the wall to look back up the corridor. Then quickly withdraws it.

CUT TO

NIKKI her pace slowed to a walk as she spots him. WE see her call into the dimly lit corridor.

NIKKI

Hah! Just you wait!

HARRY (V.O.)

You think I'm SCARED?

NIKKI

You should be.

She slows to a halt at the corner.

CUT TO

Harry, he is leaning over filling his cupped hands full of water, his timing is perfect as he turns and catches her full in the face as he throws his handful of water at her. NIKKI reacts: she is shocked and amused in equal measure. She grabs at his arm and wipes her face ostentatiously on his sleeve.

NIKKI

That was a REALLY stupid thing to do!

HARRY is struggling to control his laughter, he has found it hysterically funny but is tempering his enjoyment just in case she is justifiably furious with him and because she is making his jacket wet.

HARRY

Are you sure?

NIKKI looks up into his eyes, hoping to distract him as she quietly raises her right hand to tap him on the cheek, just as he had earlier. HARRY is too quick for her and grabs her hand and holds it tenderly against his cheek instead. He leans into her hand, blinks briefly.

They gaze at each other, standing so close to each other they are almost touching.

A MOMENT

HARRY

I'm sorry.

NIKKI

No you're not.

HARRY laughs. NIKKI pouts but just for show.


	2. Love Lines

**2: LOVE LINES**

SCENE 2 INT. - AT THE REFLECTING POOL– 1:25 p.m.

The fountain is lit, but the surrounding area is dark.

CUT TO: NIKKI's face, she is smiling, HARRY is obviously forgiven for the time being, but it is not clear for how long. She gestures to a plaque at the side of the water feature.

CUT TO: The plaque, we read 'In memory of Neil Corrigan, Jason Renfrew, the names continue.

NIKKI (V.O.)

Show a bit of respect.

Camera pans back, we see HARRY and NIKKI from the rear.

A beat: HARRY looks; obviously noticing the sign for the first time.

HARRY

This is a memorial.

NIKKI (emphatically)

I KNOW

HARRY

I did wonder why it just appeared.

NIKKI

It didn't just appear HARRY!

HARRY

You know what I mean.

Harry leans against the rail and points to the CCTV camera.

HARRY (Cont'd)

It would account for the camera.

(He gestures) I just assumed it was

to catch the student who will

inevitably empty a bottle of bubble

bath into this, (he gestures again at the water)

and make the rest of us

drown in foam for a week.

NIKKI

How did you know there was a camera?

Camera zooms in on the CCTV camera, high on the wall in the gloom.

CUT to a view across the fountain into HARRY and NIKKI's faces.

HARRY (looking directly at NIKKI)

I got a letter.

NIKKI (bemused)

About the camera?

HARRY (Off her look)

No; about littering.

A beat: HARRY looks intently into the pool. Nikki turns her head to face him, but remains leaning against the railing.

HARRY (Cont'd Off her look)

I was caught on camera

'DESECRATING' the fountain.

NIKKI

You were what?

HARRY

He turns his head to face NIKKI.

I chucked an old business card in.

NIKKI (snorts)

Yours or mine?

HARRY (derisive)

You think I could get away

from YOU that easily?

Pause CUT TO: HARRY close up.

NIKKI

I wasn't aware you wanted to.

HARRY (Cont'd)

No, it was Miriam Wade's.

NIKKI (V.O.)

AH, another one that got away.

HARRY

Narrow escape more like.

Camera pans back we see both of them again.

NIKKI

She'll never be convicted.

HARRY

That hardly matters.

I'D know she was a murderer.

He looks mildly affronted.

NIKKI

Hasn't stopped you in the past.

HARRY scrubs his fingers through his hair.

HARRY

I DIDN'T know then!

NIKKI (sighs)

**THEY** didn't give you

much of selection did they?

NIKKI purposely raises her eyebrows on the word **THEY** as if imagining someone above watching them. HARRY doesn't answer but makes a non-committal grunt.

NIKKI (Cont'd)

I mean a heavily pregnant

police officer and a soon to

be married murderer.

HARRY laughs and turns to look into NIKKI's eyes. He raises his eyes on the word **THEY** just as NIKKI did.

HARRY

No, I guess **THEY** didn't.

A quiet moment; they both stare back into the pool.

HARRY (cont'd)

Didn't WE fall in love?

NIKKI

I don't think we did in the end.

HARRY looks back at her sadly.

HARRY

Shame.

NIKKI

Staring down into the water and off his look.

Well, we couldn't really.

HARRY

How so? Am I that undesirable?

NIKKI leans in and bumps upper arms with Harry as they lean across the railing together.

NIKKI

Of course not, WE'VE been in

love for years. **THEY'VE**

just never noticed.

Harry laughs conspiratorially and raises his look upwards.

HARRY

Maybe next year, eh?

NIKKI

Maybe?

* * *

**So love it or hate it? Let me know.**


	3. Dark Lines

**Thanks so much to all who've read and reviewed; you're all brilliant. Glad you're liking it and the format isn't putting you off.**

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3. DARK LINES

SCENE 3 INT - HARRY AND NIKKI WITH THE REFLECTING FOUNTAIN BEHIND THEM. – 1:35

NIKKI is still looking into the pool, as HARRY speaks she turns to lean back on the rail as HARRY has already done. HARRY looks awkward he needs to change the subject of their being in love somehow.

HARRY

I thought we were in

the middle of budget cuts.

Where did the money come from

for this fountain?

(Gesturing behind him with hands)

NIKKI

Must be a different budget.

HARRY

Or the electricity one.

NIKKI

Electricity?

CUT TO: HARRY close up

HARRY

Haven't you noticed

how dark it's been?

Either I've suddenly been

assigned the nightshift

or Leo's been saving money

by not turning on any

of the lights.

It's as dark as a tomb in

there some days.

CAMERA PANS OUT: We seem them both.

Harry gestures with the other hand to indicate the lab and offices.

NIKKI

That's not funny.

(Her eyes twinkle)

HARRY

It's a wonder I can get any work done.

NIKKI

I didn't think you did any?

HARRY (sarcastically)

Ha ha.

Harry dangles an arm towards the water ready to flick some at her. Nikki moves away.

CUT TO: NIKKI close up.

NIKKI

No really, it's not like

we've been rushed off our feet.

No multiple homicides, no

train wrecks or RTA's.

HARRY (V.O.)

Is that a bad thing?

NIKKI

It doesn't look good

when your department is

threatened with closure

and you spend half your day

stood in the observation deck

watching the boss at work.

CUT TO: HARRY He nods and turns to look at her. He opens his mouth but has nothing to say.

A beat.

HARRY

Shall we?

CUT TO The long view from far down the corridor. HARRY offers NIKKI his arm, and she slips her arm through his.

They step away from the pool and begin to walk down the corridor together.

NIKKI

Do you think Leo will be alright?

HARRY

Only if the Duchovnyan voice

overs stop, otherwise I'll

poison his coffee myself.

They'll never know it was

me, it'll be too dark to see who

the mysterious poisoner was.

AND we've already proved

you're the only one who

can smell cyanide round here.

NIKKI reaches across with the arm that isn't interlinked with HARRY's and bats his upper arm.

NIKKI

That's not what I meant.

HARRY (wistfully)

It would have been easier if

he'd bought a motorbike

or taken up water skiing.

NIKKI

You think it's just a mid-life crisis?

HARRY

He's not been happy for a while.

NIKKI

What and he's happy now?

CUT TO: HARRY close up.

HARRY

Is anyone happy?

CAMERA Pans back.

NIKKI

(off his look)

Not this year.


	4. Flat Lines

4. FLAT LINE

Scene 4 INT HARRY AND NIKKI WALK ALONG A CORRIDOR. – 1:39p.m.

CUT TO: Camera wide, we pan along the pipework of the corridor (Paradise Lost style) until the camera focuses on HARRY and NIKKI in the distance. There are pockets of light in the corridor, illuminating only small circles of light like spotlighted pools on the floor.

SILENCE

HARRY and NIKKI are walking arm in arm, they are moving purposefully but not rushing. Although their arms are linked there is tension and awkwardness in their movements.

SILENCE

Awkward pause

HARRY (Suddenly)

I don't like my new flat.

NIKKI

How so?

HARRY

It's small.

The view's not great.

It's just not…

It's…

NIKKI

Not feeling like home yet?

HARRY comes to an abrupt stop, causing NIKKI to jerk to a stop beside him. He has stopped in one of the pools of light revealing his disappointed face. We are aware of Nikki but she is not highlighted by the same light.

HARRY

No.

NIKKI

I loved that view

of the park from

your old place.

And those windows…

CUT TO: the view from HARRY's old flat window, we see the external view first, the camera retracting inwards to focus first on the windows and then into the flat. It pans to the right. We see the doorway to Harry's bedroom the view through is obscured but we see enough to see that although not messy, the room is lived in.

NIKKI (V.O.)

It's only temporary,

though isn't it?

CUT TO: The new flat, HARRY sat alone on the sofa. (Final scene Domestic)

NIKKI (Cont'd V.O)

It's not like

you had to sign a

twelve month lease.

Is it?

CUT TO: The old flat, instead of panning around the flat this time the camera shows us distinct images. They are the memories HARRY has of his flat. NIKKI on the sofa, the windows behind her; discussing a case. (JUDGEMENT SEASON 12) NIKKI eating dinner with HARRY and NIALL.(LOST SEASON 14) NIKKI in the kitchen making him coffee. It becomes clear that the happy memories HARRY has of the flat are all the one's that involve NIKKI.

NIKKI (Cont'd V.O.)

You could still go back to

your old one?

SILENCE

HARRY shakes his head, it is not clear whether this means that he CANNOT return to his old flat or he doesn't WANT to return to his old flat. We hear his heart thumping and then nothing.

HARRY is suddenly aware of the long silence.

A beat.

HARRY (blurts out)

You should come over.

NIKKI

I'd like that.

SILENCE

NIKKI turns to look at him, her face is curious, concerned. HARRY is not meeting her eyes.

NIKKI (Cont'd)

Well I ought to

see the next best

bachelor pad in

London town.

HARRY (off her look)

It's certainly not that!

NIKKI

You got a place without

pulling power?

Are you growing up?

HARRY (off her look)

NO, I'm getting old.

He is still in the spotlight of light, and the harsh light and his sadness make him look tired, older than his years.

Nikki tugs at his arm to move him along the corridor and out of the fierce glare of the light pool.

NIKKI

Well there's nothing

like a twenty-something

to cheer you up.

HARRY gives NIKKI a withering look.

HARRY

Haven't played

that game in a while.

NIKKI draws to a stop, she is now illuminated by the next spotlight, leaving HARRY in the shadows. She is obviously processing his last words and realising their truth.

NIKKI

You mean you haven't

had any lapses in judgement?

HARRY

Lapses in judgement?

He says the words as if trying them on for size.

HARRY (Cont'd)

Not for a while.

NIKKI

Doesn't snogging

the mother of the

baby at it's

Christening party,

count as a lapse?

HARRY

She was drunk,

I was drunk.

NIKKI

Yes and YOU were

my designated driver!

HARRY

I got you home safely.

NIKKI

It's still a lapse.

HARRY (getting defensive)

And what about you?

NIKKI

ME?

A beat.

NIKKI (Cont'd)

No lapses here.

Under her breath and as if she is remembering something.

More's the pity.

They continue to walk.

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**More shortly. I LOVE reviews :)**


	5. Fine Line

**Thanks again to all who reviewed. This bit especially for Lizzigine who saw this bit coming way back at the beginning.**

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5 FINE LINE

SCENE 5 INT: DOUBLE DOORS TO A FURTHER CORRIDOR – 1:45p.m.

CAMERA ON HARRY AND NIKKI: They stop at some double doors and drop arms. These doors are still part of the set but there is a second set of doors further up the corridor leading to the outside and off set.

HARRY

You got off pretty lightly.

Off HARRY's look staring forwards to the external doors.

NIKKI

Hmm?

HARRY

I said 'you got off pretty lightly.'

CUT TO: the two of them, we see them through the doors they are standing at.

NIKKI

I got whacked on the head.

HARRY

Only once, you spent longer

in hospital visiting Charlie

Thompson.

CUT TO: HARRY and NIKKI's faces the camera has passed through the door.

NIKKI

You mean you prefer it when

I'm lying at death's door.

HARRY

It adds a certain frisson.

NIKKI

Frisson? I didn't think

We needed any extra frisson this year?

HARRY

Obviously neither did THEY.

but I'd like to have words with

whoever thought 'Scooby Doo'

would work as a genre.

Cut to: the view from behind. HARRY and NIKKI have turned side on; we see them both in profile.

NIKKI

Wasn't it supposed to be gothic horror?

HARRY

That's what I said.

NIKKI

You SAID 'Scooby Doo'

HARRY

Me?

A beat. Harry looks the picture of innocence.

HARRY (cont'd)

What about you then?

HARRY

Huh?

NIKKI

If I got off lightly.

What about YOU?

HARRY

Well I didn't get to chase

down Eastern European gang

members this year;

if that's what you mean.

NIKKI (pointedly)

And DIE

HARRY

Hmm that too.

Guess I didn't do much either.

NIKKI

Do you think if you actually

learnt your lines, THEY'D be inclined

to give you more of them next time?

(NIKKI inclines her head on the word THEY again)

HARRY

Excuse me! I learn my lines.

NIKKI (exasperated)

Yes, but you never use any of them.

HARRY

I use a few.

NIKKI (rolling her eyes)

A VERY few.

HARRY

You wouldn't love me if I did.

NIKKI

I don't love you now.

I thought THEY'D proved that.

Nikki decisively opens the first set of doors and walks on. HARRY is left behind staring momentarily and then jogs to catch her up. They both stop at the external doors; there are signs all over it with directions about keeping the doors shut during filming. We still see them from behind.

HARRY

So are you glad it's over

for another year?

NIKKI

In some ways yes, and some ways no.

HARRY

You mean you won't have to

stand and watch Leo work

for a while.

NIKKI

No wonder he's depressed.

He WAS the only one who did

any work.

HARRY

I WORK!

NIKKI

(Laughs)


	6. Border Line

**The lines (fact/fiction) are really getting blurry now, hope you don't mind; it is only meant as a bit of fun and I stress that it is all fiction.**

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6: BORDER LINE

SCENE 6 THE DOORS TO THE SET – 1:51p.m.

CAMERA ON: Close up posters stuck to the doors. We see directions about not opening the door during filming, cast only notices and health and safety at work posters.

CUT TO: HARRY seen from behind, the door we have just seen closed in front of him. We hear NIKKI's laughter. HARRY smiles enjoying NIKKI's laughter even if it is at his expense. He begins to grin in a conspiratorial way.

HARRY

You were busy though.

You got to go and do

some exciting stuff.

I enjoyed that

prison interview.

That looked fun.

I'm sure that's not

in the normal pathologist's

job description.

CUT TO: NIKKI close up

NIKKI

We've done loads of

prison interviews.

HARRY (V.O.)

Still doesn't mean

it's in the job

description.

NIKKI

Anyway;  
Myers was a psycho.

CUT TO: HARRY and NIKKI we see them from the front the corridor they have walked down stretching out behind them. The corridor is still gloomy with odd light patches.

HARRY

Is that a technical term?

NIKKI

Shut up!

She hits him again, HARRY rubs his arms and pulls a face, she has hit the same spot a number of times now. NIKKI has her hand on the door handle but doesn't pull it.

NIKKI (Cont'd incredulous)

Job description?

Neither is rescuing babies,

and going to prenatal appointments.

HARRY

Alright, alright, you've made your point.

A BEAT

CUT TO: NIKKI pulls the handle of the double door in front of her and puts one foot into the gap. She makes no attempt to fully open the door or move her foot. She looks pensive.

NIKKI

You should do one next time.

HARRY

Do what?

NIKKI

Write one.

HARRY

Really?

NIKKI

You make half of them up already!

HARRY shrugs in agreement.

NIKKI

I'm sure THEY won't mind.

HARRY

(snorts)

NIKKI

It's not like it could get worse.

HARRY

Nikki!

NIKKI (raising her eyebrows)

And ANYTHING could happen.

CUT TO: HARRY close up, we see him chewing the inside of his cheek and looking uncomfortable. He is on edge, unsure of how to react to her, unsure whether she is really suggesting what he thinks she's suggesting.

Camera moves back: HARRY obviously makes up his mind. He picks up the ends of NIKKI's scarf and flicks it into her face. Falling back on his default behaviour of joking and fooling about if she ever makes a potential advance to him.

HARRY (blustering to cover his unease)

So what shall I do?

Train crash?

NIKKI

Been done.

HARRY

Helicopter crash?

NIKKI

Done twice.

HARRY

Killer virus?

NIKKI

Done that too.

HARRY

Political thriller?

NIKKI

Not really our department.

HARRY

Musical?

NIKKI (shaking her head)

Definitely not our department.

CUT TO: HARRY He has obviously had an epiphany at this point, and starts to bounce about, his arms waving as his brain races through he possibilities. He also opens the door on his side and stands in the open doorway.

HARRY (off her look)

I've got it!

NIKKI (still pretending to not be amused)

It'd better not be catching.

HARRY

Tragic accident during

the filming of 'Strictly

Come Dancing!'

One of the dancers

dies. Brucie

could have a heart attack

and all the dancers could

be killing each other

in a variety of ways

and causing accidents.

It'll be a great

Whodunit, and in

true Christie

style everyone will

have dunnit.

NIKKI

You really are a sad man.

You should do some work.

HARRY

I DO work.

NIKKI scoffs and rubs her hand across her lips.

CUT TO: HARRY close up, he looks agitated.

HARRY (Cont'd)

Maybe I haven't

voiced every childrens'

DVD going. YOU frightened

the life out of me the

other day.

There I was driving along;

and all of a

sudden there

YOU were; in the

back with the kids,

Going On A

Bear Hunt.

I nearly drove into

a tree!

NIKKI laughs.

CUT TO: HARRY and NIKKI as seen from behind, they hold the doors half open in front of them.

NIKKI

I've not done so much recently.

HARRY joins her laughter, and pulls his door completely open.

HARRY

Are you ready?

NIKKI

Ready.

NIKKI opens her door to match HARRY's and they step through together.

* * *

'**We're going on a Bear Hunt' by Michael Rosen**

**A step too far?**


	7. Crossed Lines

**Thanks again, glad my blurring of the lines hasn't put you off, this one is definitely across the line but still very much in the realm of fiction although based loosely on some facts gleaned from interviews, rather than the show. No disrespect is intended, nor do I claim to be privy to any of this; it's just as made up as the rest of my stuff. Hope you're all still laughing - do let me know.**

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CROSSED LINES

SCENE 6 EXT: OFF SET - FILM PEOPLE BUSILY MOVING ABOUT – 1.57

Cut to: WHITE OUT Bright sunlight, we can't see anything. Gradually the scene appears; we are made aware first of the bright sunlight, then the colourful clothes worn by the rest of the crew. It is a stark contrast to the muted colours and gloomy internal scenes. The catering truck comes into view, boom operators, cameramen etc. moving about. External noises, birdsong, shouts between the people.

CUT TO: TOM and EMILIA as they walk away from the set doors. Their clothes seem dull and unsuitable to the late autumn sunshine. They walk separately, more distance between them than we are used to on set.

TOM

You going to be alright?

EMILIA

'Spect so.

A beat.

Do you want some lunch?

TOM

What the only day,

You can genuinely leave

early and now you want to stay?

EMILIA

Well?

HARRY checks his watch and shifts his weight between his feet.

EMILIA

I know, if you leave now,

there's a chance you'll make

school pick up.

Go on. Go!

You big softee!

TOM

You don't mind?

EMILIA

Of course not.

TOM (eyes lighting up)

Jack's in a match,

I'll catch the end for once.

Oh that reminds me,

I've got a car full of kiddiecrap

for you.

NIKKI

I beg your pardon?

TOM

Kiddie- oh you know STUFF.

A couple of boxes of long

haired plastic ponies, and

overpriced furry forest

families. There's

a couple of dresses

and other clothes too;

if you want them?

EMILIA

And you're not taking it

to the dump?

TOM (interrupting and incredulous)

NO! Tabitha is on

some eco-warrior school

committee, everything gets

recycled in our house.

NIKKI

Glad to hear it

HARRY

…and they've

all seen Toy Story 3 too

many times. Besides

Tabitha wanted Rose to have them.

EMILIA

Tell her thanks.

TOM

You should both

come down for the weekend.

Get out of London for a bit.

EMILIA

We'd like that,

Now go on go; or you'll

get told off by the teacher.

TOM

Wouldn't be the first time.

Do you think she'd give me lines?

EMILIA

Even if she did,

it's not like you'd take any notice.

TOM

(laughs and pulls at his hair

in a HARRY like gesture.)

Harsh, but fair.

EMILIA

You parked in your usual space?

TOM nods.

EMILIA (Cont'd)

I'll bring mine over.

She turns to leave.

CUT TO: TOM is standing at the boot of his car; he is trying to shield the contents of the boot with his body. The boot is open and there is obviously a plethora of pink storage boxes crammed in the back along with a variety of different sized wellies, riding boots, child sized musical instruments and a box overflowing with old scripts.

EMILIA

So when you said a 'few…'

TOM

I lied.

EMILIA

Would it matter if I

took them straight to the dump?

HARRY opens his mouth incredulously again, but he realises she is joking.

TOM

You could at least take

it to a charity shop the envir…

EMILIA

You can spare me the environmental speech.

TOM

Oh yeah, er sorry.

I guess Tabitha's

speeches rubbed off on me.

I can't think where

she got all those statistics from.

NIKKI looks pointedly at her feet.

TOM (Cont'd suddenly knowingly)

Oh!

TOM starts loading the storage tubs into her boot, bits of pink Duplo scatter over the car park.

TOM (Cont'd again)

Sorry

He stoops down and collects the bits of plastic and scoops them into the back. Her boot is now crammed, as is the back seat as the baby stroller was still in the boot. HARRY looks up a serious expression on his face.

TOM (Cont'd again)

No really, I'm sorry.

EMILIA

It's ok. We're happy.

TOM

I'm glad.

EMILIA

Bye then.

TOM

Bye.

They kiss continental fashion on both cheeks.

CUT TO: camera pans back, we watch them walk around to climb into their respective cars calling across to each other louder and louder as they get further and further away from each other.

EMILIA

I'll send you a picture

of Rose playing with a pony.

TOM

Thanks, Tabs'll love it.

EMILIA

Love to Emily and the kids.

TOM

And to Rose.

A beat

TOM

You're not still

pounding the streets in

your pyjama's?

NIKKI

No; she's sleeping much

better now thanks.

HARRY

And don't lose any more weight!

EMILIA

And don't forget to keep dyeing your hair!

She runs her finger across the top of her cheek by her ear. TOM put's his hand up to his sideburns and ducks down to take a look in the car's wing mirror. He pops up again.

TOM

What?

EMILIA

Gotcha!

TOM laughs.

EMILIA

You know we're being watched.

TOM

We're always being watched.

She gestures up to the building behind her.

TOM looks up and see's WILLIAM watching them out of a window. TOM comes back around his car and stands next to EMILIA. He gives a finger wave up at the window.

EMILIA

At least he's smiling now.

TOM

That'll be The Joy of Life.

EMILIA

I thought he was depressed.

YOU said he was having a

mid-life crisis.

TOM

No not that.

A moment.

TOM

His painting.

EMILIA

I beg your pardon?

TOM

His new painting.

You didn't recognise it?

EMILIA

I don't know, Gauguin, Chagall?

TOM

Matisse: Le Bonheur de Vivre

A beat and he translates for her.

TOM (Cont'd)

The Joy of Life.

EMILIA (pointedly and impeccably pronounced)

Merci bien

Have I told you recently

you are a very sad man?

TOM

About five minutes ago,

I think.

EMILIA laughs, a full bellied, face crinkled laugh. TOM looks on triumphantly at a job well done. He takes advantage of her being distracted looks up at the window, waves again and taps her on the cheek, just as he did earlier. Then quickly runs round and jumps into his car, locking the doors ostentatiously. She laughs again.

EMILIA

I'll get you next time.

TOM

You can try.

EMILIA

Go on get out of here.

You'll miss the match!

CUT TO: TOM's car driving out of the car park. EMILIA still stood by her's laughing.


	8. Tag Line

TAG LINE

SCENE 7 INT - LEO AT HIS OFFICE WINDOW – 2:07

He is still on set and in character. HARRY's antics below have given LEO a sad smile rather than the amused one LEO had earlier. He looks out of the window and watches his colleagues get into their cars and prepare to drive away.

LEO (V.O)

For every action there is an

equal and opposite reaction,

CUT TO: TOM driving, he is tapping his fingers against the steering wheel and rolls his eyes. It is unclear as to whether he is frustrated by traffic that we cannot see or the voice over.

LEO (V.O. Cont'd)

yet the laws that govern the universe

seldom have anything to do

with what we know of human experience.

CUT TO: EMILIA she tries to put her handbag onto the passenger seat but finds a chunky pink plastic princess castle strapped into the front seat instead. She smiles and chucks her bag into the footwell.

LEO (V.O. Cont'd)

Where there is chaos; there can be order.

Where there is tragedy; there can be joy.

CUT TO: LEO's new picture the Matisse.

LEO (V.O. Cont'd)

Where there is love; there can be hate.

I am a pathlogist.

I determine cause of death.

I can tell you the how, the when,

the where and the what.

The scientific facts.

But I will not be able to

tell you why.

CUT TO: LEO's face he is looking towards his picture and has his back to the window.

LEO (V.O. Cont'd)

Why them?

Why now?

Why me?

Why do good people suffer?

Why do the most wicked of people

sweep through this life

without a care in the world?

Where is justice?

LEO walks over to his desk and sinks down, he is in the position we first found him in in SCENE 1.

LEO (V.O. Cont'd)

The longer I live the more

questions I ask;

CUT TO: the stack of files and paperwork on the side of his desk.

LEO (V.O. Cont'd)

but just as I cannot

give an answer to the family's and friend's

who walk through these corridors

questions: why me?

Why them?

Neither will my WHY be answered.

CAMERA PANS across the desk. We see a photo of Janet. LEO picks up the photo and places it in his desk. He pulls out another photo frame from his drawer and puts it back in place of the other.

LEO (V.O. Cont'd)

I will not find my reason.

But it will not mean

that science has failed.

Or that I have failed.

It will not mean that

I won't continue to search for the truth.

I will always ask questions

and I will always need answers.

But some answers are not

Always the answers I want.

CUT TO: Leo's new photo. It is a picture of HARRY, NIKKI and LEO after LEO's MBE award ceremony. Camera pans from the photo to focus on the Matisse on the wall behind it.

LEO (V.O. Cont'd)

For the truest truths are what hold us together

Or keep us painfully desperately apart.

* * *

**Credits to a variety of sources for this last bit. I'm sure Leo or possibly Harry does the I can answer the what the where the how questions but I couldn't find the scene quickly, sorry, so if anyone does know the clip or episode I refer to, I'd love to know and not that I just imagined the whole idea. **

**There is also a nod to Psalm 73:**

**But I had nearly lost confidence; my faith was almost gone because I was jealous of the proud when I saw that things go well for the wicked. They do not suffer pain; they are strong and healthy. They do not suffer as other people do; they do not have the troubles that others have.**

**and Gillian Anderson. I'm pretty sure I've used a bit of this X files voice over before but I love those last two lines and they seemed to fit.**

**Please review even if it is just to say NEVER use this format again! Seriously reviews are what makes it all worth while, so give it a go.**

**Thanks for reading.**

**d**


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